Teresita Fernández’s exhibition at Lehmann Maupin is named after the 19th century tactile military code “Night Writing” - the predecessor of Braille enabling soldiers to communicate quietly at night. This exhibition continues her long-lasting interest in perception and nature, while initiating an exploration of the boundless possibilities of language - something that never fails to transform itself and create opportunities for communication, even in complete darkness and silence. A large-scale installation, made of hundreds of color polycarbonate tubes hanging in the middle of a two-story space, probably representing a sunset sky, it entices the viewer to look up once entering into the gallery. Also on view are a series of perforated prints, varying in size and composition while sharing a common subject matter of the night sky. A narrow palette of black, purplish red and white is adopted throughout the prints and the installation, adding a sense of cohesion to the exhibition.
The group of prints, appearing somewhat repetitive at the first sight, reveal a greater depth of meaning upon closer examination. Each work is perforated with mysterious patterns of dots - the Braille translation of its title - spreading all over the composition. Representing Braille letters, these tiny holes exemplify a way of communicating without visual or auditory sense, a language to be “heard” through finger tips. While from the visual aspect, these white dots arranged against images of night sky are reminiscent of constellations, a “language” seen in nature through which much can be understood by human beings. As written by Fernández in her book, “Like a vast billboard, the night sky has always been read and scanned for revelation, direction and guidance.”